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As Benedict Anderson makes evident in Imagined Communities, literature and the nation are often intertwined in a multitude of ways. In the case of Goethe’s Faust, a single work of literature became so meaningful to the German people that they made it their national text, and use it, whether consciously or unconsciously, to help them decipher what it means to be German. The story of Faust itself conveys truths about nationalism and nationhood; throughout their journeys, Faust and Mephistopheles encounter various portrayals of nations, and Faust also endeavors to create his own nation. Among the principles that the text conveys are the idea of the nation as a people bound by their past as well as the present, the existence of the nation as an expression of a homogeneous community, and the symbolic importance of women to the national imagination.

Ernest Renan’s What is a Nation? is an overview of one important definition of a nation. In the course of his analysis, Renan develops this definition in a series of points. It is his belief that people wishing to become a part of a larger nation must display active consent toward doing so. He also argues that members of a nation should share both a common past and the desire to exhibit commonalities in the present. He states, “A nation has a soul, a spiritual principle. One is in the past, the other in the present. One is the possession of a rich legacy of memories; the other is the desire to live together and to value the common heritage.” Consider Faust’s nation and its inhabitants; two members don’t seem to fit in. Philemon and Baucis are in many ways Faust’s antitheses; they are perfectly content to stay where they are, worship God, and live a relatively meager existence. For this reason, it is clear to both parties that the old couple does not consent to be a part of Faust’s nation, and in lines 11275-77, Faust calls for their relocation: “Then go and push them aside for me! –/ You know the land, with my approval, / Set aside for the old folks removal.” Because Faust, Philemon, and Baucis do not share a past and have no desire to live together in harmony, they cannot effectively form a nation together.

In order for one nation to grow strong and prosperous, there must be other nations to which it can compare itself. In Faust Part 2 Act II, Faust and Mephisto travel through Greece, and while they observe the area, Mephisto remarks about the sins of the Greek people, saying, “They lure the heart of man to happier sins: /While ours, one always finds, are gloomy things.” (Goethe 6974-75) This comparison is telling, not in the opinions it details, but the very fact that it exists. Goethe presents a very clear ‘us versus them’ situation in this act. This coincides with the ideas presented in Anderson’s Imagined Communities; Mephistopheles assumes the overarching qualities of both his own people and this foreign entity, even though he can’t possibly personally know any significant percentage of the people about which he is passing these judgements. Anderson argues that this is the foundation of what a nation is; there is a sense of familiarity and brotherhood that is felt throughout a nation. Nationhood turns strangers into family, and, as Anderson states, “Ultimately, it is this fraternity that makes it possible, over the past two centuries for so many millions of people, not so much to kill, as willing to die for such limited imaginings.” This clarifies why it is so easy for Mephisto to discern alleged differences between the two nations.

Faust closes with a scene in the heavens where several important women from the bible, as well as Gretchen, appear. In the final lines of the work, the mystic choir proclaims “Woman, eternal, / Beckons us on.” (Goethe 12110-11) This line from a famous work of German history can be compared to sayings from another, darker time in Germany’s past: Yuval Davis discusses the slogans of Hitler youth, stating “For girls the motto was – 'be faithful; be pure; be German'. For boys it was – 'live faithfully; fight bravely; die laughing'. The national duties of the boys were to live and die for the nation; girls did not need to act – they had to become the national embodiment.” Women are often seen as the faces of national movements, as is shown in Faust; in the end, it is the woman who is calling Faust and Germany forward into the future.

The nation is complicated, multifaceted, and constantly changing, but there are some core elements that solidify its existence. As evidenced in the quintessential German text, Faust, a nation must be made up of consenting individuals, who share a past and, additionally, desire to share a present, perhaps because they feel a strong sense of fraternity among themselves, despite the impossibility of their actual acquaintance with one another. Furthermore, Goethe reveals that his ideal nation looks to its women for symbolic guidance. As such, this famous work of literature functions as a path to a deeper understanding of the German nation.

Christopher Marlowe’s Doctor Faustus presents a protagonist who sells his soul to the devil for god-like knowledge and power. The tension in Faustus surfaces from the protagonist’s self-damnation, for he is constantly reminded and aware of his numerous avenues to salvation. His fundamental tragedy is that he refuses his humanity. He convinces himself that, by refuting his personhood and selling his soul to the devil, he can become all knowing. Though he gains the magic promised him by the devil, he slowly becomes aware that he is now void of identity altogether. Faustus does not become less human because he has become a god; rather, he becomes less human only in that he denies his place in humanity. He removes himself from the community of man in favor of a commune of soullessness and debauchery. In fact, if conceit and foolishness are what bring about Faustus’ tragic fall, it is the forsaking of his own God-given human soul that enables the fruition of such conceit and foolishness in the first place. Without his humanity and faith to give his life meaning, Faustus is left without purpose for existence, turning to the pleasures of magic and art as substitutes for his lost personhood.

In the Prologue, the Chorus explains that pride leads Faustus to discount his theology and turn to magic. Faustus’ life of fruitful scholarship has enriched him with knowledge: “Excelling all whose sweet delight disputes / In heavenly matters of theology”. Yet, Faustus finds no contentment with his studies. Though he might “heap up gold, / And be eternized for some wondrous cure” as a physician, such prospects fail to appeal to him (1.1.14-5). He says:

Yet art thou still but Faustus, and a man.

Wouldst thou make man to live eternally,

Or, being dead, raise them to life again,

Then this profession were to be esteemed.

His discontent is that he is only “a man,” bound by the laws of Earth and limited by his finite existence. His mistake, of course, is that he ignores his theology, which tells him that man’s most profound spiritual needs are answered only in Communion with God, be they knowledge of man’s origins or the miracle to, as Faustus says, “raise the dead to life again.” There exists, then, a division in Faustus. On the one side are the desires for knowledge present in all men. On the other side of the division lie the means by which he might gratify those desires: acceptance of his humanity and participation in God’s plan. The wall that separates these parts is constructed of his pride and foolishness.

This dissection becomes more apparent when Faustus continues expressing his restlessness and desire:

Ay, we must die an everlasting death.

What doctrine you call this Ch ser, ser,

“What will be, shall be” Divinity, adieu!

These metaphysics of magicians

And necromantic books are heavenly,

[…] Oh, what a world of profit and delight,

Of power, of honor, of omnipotence

Is promised to the studious artisan!

All things that move between the quiet poles

Shall be at my command.

This may be viewed as the exact moment Faustus refutes his faith and turns to the false promises of magic. He arrives at the conclusion that all men are fated to die by ignoring the most important tenet of his former faith – that the gift of Communion with God is everlasting life. Further, he speaks of commanding all things “that move between the quiet poles,” a hope borne from his belief that the “metaphysics of magicians / And necromantic books are heavenly.” If the books of magicians are “heavenly,” it is still impossible for those texts to be more heavenly than the gospels with which Faustus is aware. Moreover, had Faustus not denied his proper place among men, he would already be in possession of all “that moves between the quiet poles,” for God has granted man dominion over those earthly things. Again, it is denial of his personhood, of his place in relation to other men and God, that precedes his downfall.

Once he denies God’s charity and chooses covenant with Mephistopheles instead, Faustus’ hunger for knowledge does not, as Faustus hoped, become satiated. He asks Mephistopheles a series of questions about hell and the universe, until eventually, frustrated with half-answers, he sighs, “Well, I am answered”. Faustus’ frustration becomes apparent:

Faustus: “[…] Tell me who made the world.”

Mephistopheles: “I will not.”

“Sweet Mephistopheles, tell me.”

“Move me not, for I will not tell thee.”

“Villain, have I not bound thee to tell me anything?”

“Ay, that is not against our kingdom, but this is. Think thou on hell, Faustus, for thou art damned.”

“Think, Faustus, upon God, that made the world.”

The reason, of course, that Mephistopheles cannot answer the most important questions of the universe is that the answers have meaning only with reference and respect to the human condition, as well as reverence for the purview of God. True answers to Faustus’ questions require Mephistopheles to admit that the truth lies with God, not in black magic. Faustus’ theology informs him of this fact, as he laments, “Think Faustus, upon God, that made the world.” Again, it is his pride that subdues his instinctive faith, preventing him from renouncing his devilish pact and restoring his place among men.

However, this is not to say that Faustus does not have moments of doubt. On the contrary, Faustus’ instinctive faith surfaces many times throughout the span of the play. He hungers for something to compensate the loss of his spirit, and in Faustus’ most doubtful moments (moments of hope for the audience), Mephistopheles is there, offering trivial distractions and a momentary fix. As Faustus considers the Good Angel’s promise that it is “Never too late, if Faustus can repent,” Lucifer intercedes with a fanciful show of the Seven Deadly Sins. Though meant as a satirical distraction, their words are significant to understanding the importance of Faustus’ denunciation of his humanity:

I am pride. I disdain to have any parents. […]

I am covetousness, begotten of an old churl in an old leathern bag. […]

I am Wrath. I had neither father nor mother. […]

I am envy, begotten of a chimney sweeper and an oyster-wife. […]

I am gluttony. My parents are all dead. […]

I am Sloth. I was begotten on a sunny bank.

Though each sin exhibits its own individual characteristics, all of the sins share one critical attribute: each sin either has no parents or is illegitimate. They are all like Faustus in that they have been disinherited; they have either been cut off from or rebelled against their patronage. If Faustus is guilty of each of these sins at some point in the duration of his twenty-four-year covenant with the devil, then this passage suggests the cause of such sin. Faustus, in an attempt to be alone among men as a god, has found himself simply alone. Without faith in the human condition, Faustus is truly lost.

Indeed, the scene with the Seven Deadly Sins marks a significant transition point in Faustus. The Sins represent the end result of lost personhood, and now, we are to see Faustus’ journey through such self-hell. Void of spiritual sustenance, he turns to sin to satisfy his hunger pains. Each event demonstrates the extent of Faustus’ loss. At the beginning of Act 3, Wagner says:

Learnd Faustus,

To know the secrets of astronomy

Graven in the book of Jove’s high firmament,

Did mount himself to scale Olympus’ top,

Being seated in a chariot burning bright

Drawn by the strength of yoky dragons’ necks.

He now is gone to prove cosmography,

And, as I guess, will first arrive at Rome

To see the Pope and manner of his court

And take some part of holy Peter’s feast

That to this day is highly solemnized.

Though he has “scaled Olympus’ top,” the wonders of the universe fail to satisfy Faustus for very long; one must value one’s own place in the universe before the grandeur of that universe might ever be appreciated. Even before Faustus has sufficient time to rest, he wishes to go on another – probably pointless – journey. He and Mephistopheles go to “see the Pope and manner of his court / And take some part of holy Peter’s feast.” Faustus can only take “some” part of the feast because he has denied himself Communion with God. He turns, instead, to childish pranks to aggravate the Pope, who implores his Friars to “prepare a dirge to lay the fury of / this ghost”. Perhaps, for the first time since his introduction, we are now meant to see Faustus truly as a devil. He has completely forsaken his identity as a man, only to gain nothing and be left with his lesser demons and sins.

It is telling that, even in moments of greatest effort, Faustus is unable to fulfill the most menial of his wishes. Nothing he can conjure is real or substantial. At the court of the Emperor, Faustus is asked to raise Alexander the Great and his paramour. Faustus replies:

But if it like Your Grace, it is not in my ability to present before your eyes the true substantial bodies of those two deceased princes, which long since are consumed to dust.

He cannot raise the “substantial bodies” of the deceased princes, only their apparitions. After Faustus sells his conjured horse to the Courser, the Courser returns to Faustus:

[…] I, like a venturous youth, rid him into the deep pond at the town’s end. I was no sooner in the middle of the pond but my horse vanished away and I sat upon a bottle of hay.

The horse Faustus conjured is unreal and cannot even traverse water; the baptism was too much for Faustus’ regressing powers. The horse is unreal. Alexander is unreal. Even Faustus himself is becoming unreal, for the Horse-Courser pulls off one of Faustus’ legs. He has bargained away his real soul for something not very real at all.

Faustus’ sin is at its peak in Act 5, as he foolishly tries to stave the void in his soul. The Old Man, strong in his conviction, once more attempts to save Faustus:

Old Man: “Ah, stay, good Faustus, stay thy desperate steps!

I see an angel hovers o’er thy head,

And with a vial full of precious grace

Offers to pour the same into thy soul.

Then call for mercy and avoid despair.”

Faustus: “Ah, my sweet friend, I feel thy words

To comfort my distressed soul.

Leave me awhile to ponder on my sins.”

Despite this apparent hesitation, Faustus is too far gone. The minute Mephistopheles reacts (“Thou traitor, Faustus, I arrest thy soul.”), Faustus immediately rejects the notion of a “sweet friend” who might genuinely care to comfort his “distressed soul.” He begs Mephistopheles:

Torment, sweet friend, that base and crooked age

That durst dissuade me from thy Lucifer,

With greatest torments that our hell affords.

Faustus wishes punishment for he who truly loves him; he is, at last, at the furthest possible point from salvation. He is now completely dominated by his soullessness, wishing only to avoid pain, having given up on hopes to gain knowledge and crying for Mephistopheles to grant him Helen in order to “glut the longing of his heart’s desire”.

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In the final scene, Faustus cries out, “Be changed into little waterdrops, / And fall into the ocean, ne’er be found”! He, in his last moments, wishes to escape what he has become. He is not at all repentant, nor is he sorry. He simply wishes his identity vanished, a dramatically fitting conclusion for a man whose tragedy is rejecting his God-given identity in the first place. Rather than accept his humanity as a divine gift, he shrugged it as a burden. Faustus wished to be alone among men as a god. In the end, he was simply alone.

Works Cited

• Marlowe, Christopher. “Doctor Faustus.” English Renaissance Drama: A Norton Anthology. Eds. David Bevington, et al. New York: W. W. Norton & Company, Inc., 2002. 250-85.

Table of contents

1. Introduction
2. Literature Review
3. Validation and Conclusion

Introduction

The console is the part that creates a interaction bridge between human and machine. The Console assembly comprises of the HMI (Human machine interface) and the console shell. The Console shell is the part on which the HMI part gets mounted. The HMI (Human machine Interface) comprises of the all the electronic part which include LED bulbs, button, PCB etc.

The console of the washing machine is one of the important part when considering the safety of the user as it contains lot of electronics part and its breakage could result in safety issue which is given highest priority when designing any product. So, every console design made has to pass certain UL tests without which the product cannot be launched in market [1].

Out of many safety test performed on the console, one of the most important test is the ball impact test. The ball is actually a basketball filled with sand upto 1/3rd of it volume and impacted on the console. The test very much resembles with the pendulum impact test but the only difference between the two is that the pumpkin ball is deformable during the impact which makes it more dynamic and hard to study.

The need to perform the ball impact test on the console can be understood by an instance where there is a major impact on the console directly due to any unknown reason. So, the full impact can damage the console. The major concern is the access to the live wire after the damage.

The main objective of this paper was to correlate the simulation with the experimentation. During the new product development when a console is been designed, the only way to check whether the product would pass the UL standard safety test during the design stage is by simulation. So, the only way to understand the accuracy of simulation is to study the behaviour of the console when impacted with the ball and compare it with the actual experiment with the help of accelerometer.

Literature Review

Wherever S. Sridhar and Sushilkumar Vishwakarma worked on modeling the behaviour of dry sand with DEM for improved impact prediction with an objective to create a standard simulation model that would capture the behaviour of ball filled with sand particle when impacted on the concrete wall and validate it with the experimental model. The simulation results showed a close proximity with experimental results [2]. Hamidreza mahmoudi worked on the Modeling of Bonnet in LS-DYNA for Pedestrian Research with an attempt to come up with a finite element model for analysis of pedestrian kinematics with the help of LS Dyna and hypermesh software. The peak acceleration and the impact duration were used for the comparison with the experiment [3]. Edwin Fasanella and Karen Jackson worked on the describing the best practices for modeling aircraft impact using explicit nonlinear dynamic finite element codes such as LS- Dyna. In crash analysis, the most concern point is the magnitude and the duration of peak acceleration. Experimental data analysis, digital filtering is also discussed [4]. The report by SMP Svensk on requirement and test methods for impact from swing element for which the accelerometer is used during the experiment and results are compared in g units [5]. The Frank, Stefan and Marika worked on the material models for polymers under Crash loads giving an overview on existing material models for thermoplastic applicable on shell elements in LS-Dyna as there are still challenges in existing numerical tools for crash simulation [6].

The pumpkin ball impact test setup had a ball filled with sand to its 3/4th of its volume and hook attached to the top of the ball using the tapes. The vertical height from the hinge point is 39.2”. Some counter weights were kept at the back of the pumpkin ball setup to avoid any misbalance during the swing motion of the ball. The Pumpkin ball’s height and location was adjusted such that the ball impact at the centre of the knob. The weight of the ball is about 10.5kg. Two triaxial accelerometer were used to measure the acceleration on the console and pumpkin ball.

Two accelerometers were used during the testing. One was attached to the console 76mm away from the impact point and another was placed exactly behind the impact point of ball. The impact is maximum along the z direction which is normal to impact. The reading was taken for the horizontal distances of 5”, 10” and 15”.

The main target of the simulation is to check whether the stresses for Console are within allowable limit and there should not be any snap disengagement between Console and Fascia while ball impact The simulation is been done using the LS- Dyna and hypermesh software and discrete elements are used inside the ball to replicate the sand particles.

4.1 Assumptions

1. Screw connections modeled using Rigid and Beam elements.
2. Plastic parts (console) modeled by tetrahedron elements
3. Sheet metal (Top panel) is modeled by shell elements.
4. Pumpkin ball of 500mm dia is used for simulation
5. Material properties assigned for ambient 23C (ambient temperature) condition. Temperature effects not included in simulation

4.2 Loading and Boundary condition

• Initial Velocity in Z-Direction is applied on the ball which would give the same impact energy.
• 1G gravity load is applied on the complete model in Y-direction.
• Bottom face of the Top Panel is constrained in all DOF.

Dry sand particles are modeled using the discrete element method (DEM) technique and shell element is used to model rubber ball.

The LS- Prepost software is used for the post processing. Maximum stress levels during each run are within the allowable limit of the material and did not observe any risk in the assembly and snap disengagement in all load cases.

Validation and Conclusion

Since the correlation of the simulation was done by performing the experimentation on the same model, acceleration values for both the simulation and experimentation were being compared. The maximum acceleration value obtained in experimentation was 20.71g and in simulation 19.53g. The error between the simulation and experimentation maximum g value is of 5.69% which within the acceptable limit. Thus, results obtained from LS- Dyna presents a good correlation with the experimental test. This gives a forward step to the simulation process to approve the design at its early stage only.

It is undeniable that people are motivated by many different things, yet fear is one of the most powerful motivators there is. Fear is the natural instinct that helped humans through their evolution. Today, people don’t have to live with ancient threats such as large animals but fear keeps humans moving forward in life. In life nothing makes people more uncomfortable than fear, we have so many fears; fear of pain, fear of disease, fear of failure, fear of change. Fear can be a strong motivator both positively and negatively, it makes people choose between fight or flight.

Not only has fear saved people from predators and disasters, but we have also learned to use fear against others for our own gain. Dictators use threats to make followers obey them. Fear is even more powerful if it used against followers in religions. Many religions profess the goodness of one God or multiple Gods, but fear is used as a motivator, the fear of hell makes many worship faithfully. We may even doubt that hell exists but fear makes us not take any chances and follow the church’s.

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Fear is a powerful motivator that is not only used by religious leaders but also by politicians, especially during campaigns. Without a doubt, fear is used in negative advertising. Negative advertising is used to make people fear what the other politician plans to do. The outcome if you vote for the wrong party or chose the opposite person makes you fear voting for someone else. The same is used by markets especially on weight control pills and diets. Fear motivates people far more than negative advertising. While the promises are rarely kept, people who use fear against others believe such advertisements work better.

Fear can be used to motivate employees to sell more or make more or get fired, fear can be used to motivate students to work better or face consequences. Fear can be utilized to promote healthy eating habits. Fear motivates someone to eat better and exercise. If the doctor says you will have a heart attack if you don’t exercise and eat better. Overall fear of premature death makes one lose the battle to temporary comfort and convenience such a junk food.

Fear is an important emotion that pushes people into the option of fight or flight. Nevertheless if misused then fear can be dangerous. We have the ability to use our rationality to avoid negative fear responses by recognizing when we are pushed into speculations that push us to conform to dictating leaders, religious and political ideas. Fear as an emotion has been the greatest surviving factor but it should not to be misused.

Works Cited

1. Gray, J. A. (1987). The psychology of fear and stress (Vol. 5). Cambridge University Press.
2. Olatunji, B. O., Cisler, J. M., & Tolin, D. F. (2010). Quality of life in the anxiety disorders: A meta-analytic review. Clinical psychology review, 30(6), 693-704.
3. Phelps, E. A. (2006). Emotion and cognition: Insights from studies of the human amygdala. Annual review of psychology, 57, 27-53.
4. Schacter, D. L., Gilbert, D. T., & Wegner, D. M. (2011). Psychology. Worth Publishers.
5. Baumeister, R. F., Vohs, K. D., DeWall, C. N., & Zhang, L. (2007). How emotion shapes behavior: Feedback, anticipation, and reflection, rather than direct causation. Personality and Social Psychology Review, 11(2), 167-203.
6. Bandura, A. (1997). Self-efficacy: The exercise of control. Macmillan.
7. Lazarus, R. S. (1991). Emotion and adaptation. Oxford University Press.
8. Deci, E. L., & Ryan, R. M. (2008). Facilitating optimal motivation and psychological well-being across life's domains. Canadian psychology/Psychologie canadienne, 49(1), 14-23.
9. Lerner, J. S., & Keltner, D. (2001). Fear, anger, and risk. Journal of personality and social psychology, 81(1), 146-159.
10. Fiske, S. T., Gilbert, D. T., & Lindzey, G. (2010). Handbook of social psychology (Vol. 1). John Wiley & Sons.

Table of contents

1. Introduction
2. Book analysis
3. References

Introduction

E.T.A. Hoffmann never reveals the true nature of his protagonist Nathanael’s childhood incident, and thus by design creates ambiguity within The Sandman. This ambiguity leads to two possible interpretations of the story, one of reality and one of fantasy. Neither of the interpretations dominates the story, and they are not meant to. However, Hoffman uses each of the two interpretations of The Sandman to critique the Romantics and proponents of the Enlightenment; that is, each interpretation serves to reflect the two major movements that dominated Hoffmann’s time.

Ernst Theodor Wilhelm Hoffmann (1776-1822), better known as Ernst Theodor Amadeus Hoffmann, was a German Romantic author and a pioneer of the fantastic fiction genre. Drawing from "English Gothic romance, eighteenth-century Italian comedy, the psychology of the abnormal, and the occult, he created both a world in which everyday life is infused with the supernatural," and crafted characters that are placed in this palpably real, yet strangely unfamiliar world (“Ernst Theodor Amadeus Hoffmann”).

Book analysis

Published in 1816, The Sandman embodies all these aforementioned characteristics; the story features the juxtaposition of fantasy and reality, the grotesque, the uncanny, hallucinatory characters, and horror beneath the surface of everyday life. In writing The Sandman, Hoffmann essentially reflects these elements to create a sense of ambiguity,  leave the reader uncertain of the reality or fantasy of the story, and   put forth his commentary on Romanticism and Enlightenment.

The ambiguity in The Sandman rests in Nathanael’s traumatic childhood episode with the manifestation of the fictional sandman in a man named Coppelius. Until the end of the story it remains open whether the experience is real or just a dream, or whether the sandman and its reincarnation exists or is it all a post-traumatic hallucination. In other words, Nathanael is either a sane protagonist whom the reader can trust to find an objective view of reality, or Nathanael is a madman whose obsession only gives the reader a subjective and distorted view of reality. Hoffmann consciously leaves room for both interpretations in the story, and the reader is torn between reality and fantasy. The two interpretations are as follows:

The first possible interpretation of the story follows from the letter addressed from Nathanael to Lothaire. This interpretation is the fantastical explanation of the story, and it is of course that Nathanael’s experience with the sandman is real. Nathanael learns of the sandman at an early age and every night he hears “something slow, and heavy coming up the stairs he trembles with agony and alarm” (Hoffmann, pg. 3).

At first the sandman merely “drives Nathanael and his siblings away from Papa” , and creates certain imaginary fear in the young boy. However, one night Nathanael hears the nurse’s tale: “The sandman is a wicked man who comes to children when they won’t go to bed, and throws a handful of sand into their eyes, so that they start out bleeding from their heads. He puts their eyes in a bag and carries them to the crescent moon to feed his own children, who sit in the nest up there. They have crooked beaks like owls so they can pick up the eyes of naughty human children” .

At this juncture, the sandman becomes something more than just a folklore boogeyman and transcends all the fear Nathanael previously attributed to the sandman. Though Nathanael grows old enough to reject the folklore with the passing years, the sandman remains a fearful specter and an object of his obsession. Nathanael explains that the sandman “introduced him to thoughts of marvels and wonders that gained a hold on his child mind” , a clear indication that the sandman has made a permanent impression on Nathanael. One night Nathanael decides to confront the sandman.

Until the moment Nathanael confronts the sandman, the fearful obsession is only a faceless character. When Nathanael finally identifies the sandman to be the old advocate Coppelius, whom Nathanael is well familiar with, the sandman does not die, but on the contrary manifests itself onto Coppelius. Nathanael describes Coppelius as “a large broad-shouldered man, with a head disproportionately big, a face of the color of yellow ochre, a pair of bushy grey eyebrows, green cat’s eyes sparkled with the most penetrating luster, and a large nose curved over his upper lip”  .

The sandman takes on shape and form, literally, it is no longer the bogy of the nurse’s tale, but a spectral monster, and Coppelius is the new sandman. Now that the sandman embodies a physical and real form, it is also capable of physical and real harm. Coppelius next attacks Nathanael, which renders the young boy unconscious, and one year later in the final encounter murders Nathanael’s father. Coppelius is not heard from again. This traumatic episode with the sandman not only imprints a permanent scar in Nathanael’s mind, but also sees the death of his father. Although the sandman vanishes along with Coppelius, Nathanael struggles with post-traumatic stress his entire life and the sandman who is now a physical entity never really dies.

We do not hear of the sandman again until a barometer-dealer by the name of Giuseppe Coppola appears in Nathanael’s home. Now an adult, Nathanael identifies many of the dark and horrific features of Coppelius in Coppola, and believes that Coppelius disguised as Coppola is the returning sandman. Indeed, the sandman never died, just disappeared. Nathanael explains that “the barometer-dealer is the accursed Coppelius himself he is dressed differently, but the figure and features of Coppelius are too deeply imprinted in my mind for an error of this sort”  .

Nathanael truly believes that Coppelius is Coppola, specifically citing the fact that Coppelius has altered his name rather insufficiently, from Coppelius to Coppola is not a significant difference. If the argument follows, it can also be alleged that Coppelius/Coppola, who is German, can easily fake his disguised Italian accent, use his new profession as a pretense to return, and so on. Ultimately, in this interpretation of the story the sandman is real, and the dark, unexplained forcers that control Nathanael exist. Of course, if Nathanael is mentally disturbed as his obsession and fear of the sandman suggest, there is an alternative interpretation.

The second possible interpretation of the story follows from the letter addressed from Clara to Nathanael. This interpretation is the realistic explanation of the story that dismisses the sandman and all its manifestations with facts and logic. Clara explains that at first even she was touched by Nathanael’s fear; “the fatal barometer dealer followed me at every step…he disturbed my healthy and usually peaceful sleep with all sorts of horrible visions…yet the next day I was quite changed again” . Clara clearly demonstrates that though the fear exists, it is not real. In other words, the fear of the sandman is imaginary.

Clara explains this to Nathanael, “all the terrible things of which you speak occurred merely in your own mind, and had little to do with the actual world. Coppelius may have been repulsive enough, but his hatred of children was what really caused the abhorrence you felt towards him” . In her letter, Clara essentially argues that Nathanael’s fear is a psychological element, where the young Nathanael unconsciously created a link between a man he abhorred and a folklore character he feared. For Nathanael, Coppelius and the sandman are indistinguishable. Clara concludes by telling Nathanael that all his dark and hostile fears of the sandman only exist because his belief in them gives them life.

Clara also provides Nathanael with factual evidence that his childhood experience, although traumatic, was merely a misunderstanding and an accident between two experimental alchemists. There were certain psychological consequences on the young Nathanael, but nothing that cannot be explained with facts. Clara notes that Nathanael’s father and Coppelius were indulged in certain secret alchemical experiments, which were dangerous and unpredictable by nature.

Participating in such experiments, Nathanael’s father essentially occasioned his own death. To reassure Nathanael, Clara cites her neighbor, the apothecary, and explains that sudden and fatal explosions are possible and common, as is typical of alchemy, and by some careless mistake Nathanael’s father was a victim of an unfortunate incident, not Coppelius. The reason that Coppelius escaped was, by the same argument, not because he murdered his associate, but simply to avoid legal repercussions . This interpretation of the story ultimately places reality above fantasy. In fact, Clara is able to clear all the fantastical elements of Nathanael’s letter with factual and logical evidence. Again, neither of the two interpretations prevails, and this is by design. The reader is meant to read the story with two possible understandings, each designed to reflect on the two major movements of Hoffmann’s life, Romanticism and Enlightenment.

The fantastical interpretation of The Sandman parallels German Romanticism. In E.T.A. Hoffmann’s time, German Romanticism was best understood as a vision of an ideal world. In fact, German Romantic writers rejected their everyday world and instead sought an idyllic past. In Germany this past was synonymous with the medieval world, which was never what the Germans wished it to be, and so it led to a world of the fairy tale and the dream, a world of splendor.

Romanticism has since been recognized as philosophy of imagination, where emotion is elevated above reason and the ideal above the actual, and where the ordinary and the prosaic are imbued with the extraordinary and incomprehensible. German Romanticism however did more than celebrate the existence of the supernatural; it particularly viewed the world and men through a dark lens and saw man as the victim of the supernatural, hostile, and unpredictable forces.

German Romantic writers and Hoffmann in particular has essentially combined these Romantic characteristics with concepts like the uncanny and the grotesque to create something that was supernatural and imaginary, but dark and hostile (Mahlendorf). The uncanny and the grotesque are two of Hoffmann’s more important Romanticist elements, and directly correlate to the fantastical interpretation of The Sandman.

The uncanny is an experience where something is familiar yet foreign at the same time, or where something is concealed and then exposed, which almost always creates a feeling of the bizarre and the strange (Steig). The uncanny is largely evident when the young Nathanael first identifies the sandman to be the old Coppelius. In that instance Coppelius is both familiar, having visited Nathanael in the past, and simultaneously foreign, becoming the physical manifestation of the sandman. This is also true when Nathanael sees a disguised Coppelius in the barometer-dealer.

On one hand Coppola is an unknown, but on the other hand he is strangely familiar and reminiscent. The sandman however is not the only actor of the uncanny; Olympia is actually believed to be the other source of the uncanny effect. Olympia is hidden for much of her early mention and revealed only later in the story, presumably to hide her abominable existence from the public eye. Olympia, who is ultimately an automaton, appears first as a silent and motionless, yet life-like daughter of Professor Spalanzani.

The fact that her mechanical clockwork passes as real and her robotic existence as life is a combination of the familiar and the foreign or appearance and illusion, which combine to create the uncanny. Essentially, the ease at which Hoffmann is able to merge and juxtapose the familiar with the foreign not only accounts for much of the horror and strangeness beneath the surface, but also demonstrates that the world of the fantastic and the supernatural is an inescapable dimension of everyday life.

The grotesque erases the boundary separating the human and animal realm and, by doing so, reduces a man to a puppet or a victim of the dark and hostile forces of the supernatural. Through personification, the grotesque also extends its range to encompass the mechanical and robotic, which develops a threatening or abominable life of its own as is the case with Olympia.

In The Sandman, the grotesque is assigned a reality which contradicts the known reality and at the same time becomes true reality, a higher reality, even perhaps the one and only reality. It is when the fantasy and imagination become physical and the grotesque unveils the true absurdity of the world (Steig). Olympia is merely an imagination of its creators, and she becomes real. For Nathanael, she is alive and even becomes more of a reality than Clara, whom at one point Nathanael calls an automaton.

The doll transcends all reality and Clara herself, yet Olympia is only a doll. The grotesque creates a vision of the world which is chaotic, where reality is not what it seems, and where madness is the only sanity, because the world itself is a lunatic asylum. In this sense, Nathanael is no more of a madman for believing in the sandman than is Clara for dismissing fantasy as part of everyday life. Nathanael’s strange fears hold power over him because they do exist, his belief in their influence makes them real. Hoffman uses the grotesque to demonstrate that men are puppets on the great stage of the supernatural world and they are driven by forcers they do not understand. Fantasy, imagination, and dreams are part of their reality, perhaps they are the reality, because their belief in them makes it so.

German Romanticism was not only a philosophy all in itself, but also a protest against the precepts of Enlightenment and a reaction to the scientific rationalization of the world. This perhaps explains why Hoffmann, being a German Romantic writer wished to leave these two interpretations in The Sandman; one for Romanticism and one for Enlightenment.

The interpretation of The Sandman that is fantasy reflects Romanticism and to the same effect counters the interpretation of the reality that reflects Enlightenment. In essence, the realistic interpretation of the story is simply everything that the fantastical interpretation is not. Romanticism is a polarized opposite to Enlightenment in every facet. Enlightenment is a philosophy of reason and rational thought, it explains the world with science and facts, and views reality for what it actually is.

Enlightenment also values form and structure over individual freedom and imagination, as well as deductive reasoning over emotion and feeling. In fact, enlightened thinkers assign such great importance to their realism and rationalism that they have often accused Romanticists of irrationalism. It is also important to note that whereas Romanticism is open to any explanation of the world, be it supernatural and incomprehensible, Enlightenment only seeks that what can be humanly understood and rejects that what cannot (Mormann). Clara’s letter to Nathanael embodies these aforementioned Enlightenment characteristics. She dismisses all of Nathanael’s Romantic fantasies with facts, evidence, logic, common sense, and psychological reasoning. Whereas Nathanael represents Romanticism and fantasy, Clara represents Enlightenment and understanding. She is the clarity and light to Nathanael’s personal demons.

Ernst Theodor Amadeus Hoffmann was a German Romantic author of fantasy who published his famous short story The Sandman in 1816. The Sandman borrowed from the culturally popular folklore character, the sandman, as its name suggests, but transcended far beyond it, and influenced the psychological undertakings of men like Ernst Jentsch and Sigmund Freud.

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The Sandman is open to interpretation, and as a multi-interpretive story serves as a social commentary on Romanticism and Enlightenment. Today its relevance is perhaps slightly diminished by the absence of the rivalry between Romanticism and Enlightenment, but the literary genius remains. The ambiguity of the story, coexistence of two opposing explanations, and a masterful fashion to insert social commentary makes The Sandman a legend in the fantasy genre.

References

1. “Ernst Theodor Amadeus Hoffmann.” Encyclopedia of World Biography. 2nd ed. 17 Vols. Gale Research, 1998. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Gale, 2010.
2. Hoffmann, E.T.A. The Sandman.1994-1999 Robert Godwin-Jones. Virginia Commonwealth University: Department of Foreign Languages.
3. Mahlendorf, Ursula. “E. T. A. Hoffmann: The Romantic Writer.” American Imago (1975). Pgs. 217-239. EBSCO. Web.
4. Mormann, Thomas. “Enlightenment or Counter-Romanticism.” Logical Empiricism (Vienna Circle Institute). Dordrecht: Springer Netherlands, 2010. Philosopher's Index.
5. Steig, Michael. “Defining the Uncanny and the Grotesque.” Journal of Aesthetics and Art Criticism (1970). Pgs. 253-260. Philosopher's Index.

Although one may not believe it, in our everyday world contrasting to that of ancient Greece, heroic-like trials can be found in the most mundane of events. Though I may not be a beefy Greek warrior living in the twelfth century like Odysseus, I have had my fair share of taxing experiences similar to that of Odysseus’ in Homer’s Odyssey. To achieve his goal of going home to Ithaca and to achieve my own goals, Odysseus and I had to overcome fear of the unknown, utilize cunning, and determine how to treat others hospitably

Fear is an emotion that can be found in any being, so it is not surprising that both I and Odysseus had to overcome it to reach our individual goals. In order to participate in a floor routine at gymnastics competitions I had to, learn how to do a back handspring which terrified me. Similarly, Odysseus was terrified at the thought of traveling to Hades, Land of the Dead, which he shows when he cries, “This broke my spirit.” (10.519) After Circe tells him of his fate, Odysseus is forlorn, for he is traveling into the unknown, which obviously scares him. Likewise, doing a back handspring scared me, because being unable to see where I was going before flipping over backward is what I considered to be the scary unknown. Nevertheless, both of us accomplished our goal, I managed to start practicing on a trampoline, and Odysseus and his crew mustered up their courage and sailed to Hades in the end. Fear is simply and emotion that all humans have in common, but what Odysseus and I shared was the ability to overcome it, but it is the use of a trait, cunning that that makes us all the more alike.

Cunning is a trait that Odysseus is most often remarked upon, but it is also a trait that we have both utilized in similar situations. Just over winter break I participated in an escape room with my friends, and it was a situation where we all had to use our wits to get out. Odysseus’ circumstances were decidedly more life-threatening but still similar to mine, for he had to use his mind when attempting to outsmart the cyclopes, Polyphemus and escape his cave. A prime instance of Odysseus using his brain is, when addressing Polyphemus he says, “You ask me my name, my glorious name-Noman is my name.” (9. 361-4) It is very clever for Odysseus to get Polyphemus drunk and state “Noman” as his attackers name, for it allows Odysseus to escape because the other cyclopes were under the pretense that no man was attacking Polyphemus. I was also clever when I solved small riddles and clues, integral to fleeing the escape room. Odysseus and I both accomplished our goal, for my friends and I managed to exit the room within the allotted amount of time, and Odysseus finally escaped the cyclopes’ cavern after stabbing out Polyphemus’ eye with his crewmates. Cunning was used in parallel instances for me and Odysseus, because we both had to escape from a situation by using our brains, yet it is not only cleverness, but also hospitality that we have in common.

Everyone must interact with people at some point in their lives, and it can be hard to know how to interact or approach people that one is not familiar with, but Odysseus and I made it work when we were both in an unfamiliar situation with people we did not know. On my first day at Free State High School I was very nervous because I did not yet know anyone but once others acted hospitable towards me, I found it very easy to be friends with them. When he arrived at Phaeacia, Odysseus was in a foreign situation with unfamiliar people, and his struggles were described when he thinks to himself, “How to approach this beautiful girl. Should [I] / Fall at her knees, or keep [my] distance / And ask her with honeyed word to show [me] / The way to the city and give [me] some clothes?” Odysseus’ hospitality is determined by how he chooses to approach Nausicaa, and it this situation it is shown just how well he is able to manipulate people. By first treating others kindly, I found that others would react in kind and I was able to make new friends. By heaping praise upon the royals of Phaeacia, Odysseus was able to make an ally out of the Phaeacians to further attain his goal of going home to Ithaca. By being hospitable Odysseus and I were able to experience the hospitality of others and move a step closer to our goals of making allies within an unfamiliar atmosphere.

By overcoming fear of the unknown, wielding cunning, and determining how to treat others hospitably, Odysseus and I have shared a lot of experiences that shaped me into the person I am today and turned Odysseus into a person who could finally make it home to his family in Ithaca.

Do you want a leather bag and you do not know which one? Do not know the different types of animal skins that are used to make bags? You have reached the right place! The cowhide has many features and advantages that you can not miss Aim! What is cowhide?

Cow leather is usually the most used for the manufacture of bags and as its name suggests, this type of leather is removed from the skin of cows. It is usually of very good quality and very versatile, but, being of the skin of a non-domestic animal, it usually presents streaks, scratches and holes. What are the general beneficial properties of cowhide? Cow leather has been used since ancient times to dress people and today is considered a quality product.

To determine the quality of a skin is analyzed by the location on the leather . Cow leather that is complete can be divided into 5 sections. There are two segments in the stomach, in the lower part that includes the abdomen in addition to the front legs. This part is usually the one that has the least quality and often leads to defects and irregularities. Better leather and more resistant than the one previously mentioned, is that of the part of the two legs of the upper part of the cow, that is, in the back. It usually has more strength and fewer defects, but, undoubtedly, the best leather the cow has is the front loin, on the back of the head of the cow. In addition to the above properties it has better texture than that of the other parts.

Cowhide leather has several properties that make it very suitable for the manufacture of bags, as well as clothing, hats, belts, wallets, footwear. This skin, as mentioned in one of the previous post , is thicker and more resistant so it will be less prone to breakage than that of another animal. The bags made with cow leather are usually flexible, breathable, ductile and can be dyed or left with its natural finish. It is durable , with this we mean that its aging is good and can last up to 5 times more than other types of fabrics.

As an anecdote, we can tell you that the riders use this material for the durability and resistance properties that we mentioned above. It repels moisture, retains its shape and is resistant to sun damage and heat, very suitable for the outdoors.

The highest quality cow leather is full grain leather. It is the strongest grain and with the highest level that we can find in the skin of the cow and that is located under the hair. The skin that is under the epidermis is the most resistant since it has the fibers of the skin very connected and united. Full-grain leather is of such high quality because it is not treated, that is, polished and filed to remove stains and defects that may be on the surface of the skin. In addition, there is another treatment that is done to other skins that is ironing with hot plates to simulate another artificial texture and that does not include this type of skins as they break the fibers and decrease the quality of this skin.

To delve into the beneficial properties that we can find in cowhide we can analyze the chemical properties of this. This characteristic of the skins is not usually analyzed and is very important. It is usually evaluated with tests through chemicals. This humidity will change according to the conditions to which the skin is exposed and, as we have said before, this characteristic is important because it very often conditions the physical properties that we will analyze later. The ideal moisture that cow leather should have is 12% to 14%. This is achieved by drying a sample of cow skin up to a constant weight of 100 ° C.The level of fat contained in the cowhide is very controlled by the tanner and has important properties in the finished product as the fat gives flexibility and handling to the skin. If the fat is very low the skin (like ours) will be dry and therefore will tend to crack. In contrast, if the skin is very oily it will not be perceived in the manufacturing processes but once finished, this grease can go outside and solidify so that a waxy film will remain on the surface. The amount of skin fat is determined by extraction with a solvent. The fat levels of a leather are very variable, from 1-2% to 15-20% depending on the use that is going to be given.

The pH of the skin is analyzed to determine the acidity or alkaline of this. The pH range goes from 0 to 14, with 0 being the most acidic level and 14 the most alkaline level. The normal thing in leather is that its pH level oscillates between 3.2 and 5.5 so it would be considered acidic. This level is achieved through a good tanning process.A low pH level can cause leather aging to occur earlier than usual.

The previous characteristics of cowhide can condition, as has already been said, the physical characteristics of this. These characteristics that make it so good to make purse are the following: High tensile strength. Tear resistance. Very high resistance to bending. High resistance to puncture. Good thermal insulation Large amount of air that is very bad heat conductor so it gives comfort.

Leather is warm in winter and cool in summer. Elastic properties to be able to be modeled and retain their new shape without problem. Resistance to wet and dry abrasion. It is inherently resistant to heat and flames. Resistant to fungi.

The practice of body modification has a long history across all of the world’s continents. Taking root in spiritual and ancestral tales tracing back to what the cultures respectively consider human creation, body modification is a highly purposeful and personal art form. Body modification can be found in most cultures around the world and varies extensively in practice and media. Tattooing, ritual scarification, piercing, and the intentional and forced malformation of certain parts of the human body are all common examples of body modification. Such practices have and are regularly used to distinguish social class, familial ancestry, express one’s life craft or central purpose, tell one’s life story, or to simply increase one’s aesthetic beauty. The latter of these, however, is most often seen in modern western cultures that adopt and manipulate traditional, non-western art forms for vain and or aesthetic purposes in which their original meanings and purposes are defiled and forgotten. It is in these less commonly acknowledged cultures, routinely categorized as ‘non-western’, that body modification has its roots.

The practice of injecting ink dyes into the skin, commonly known as tattooing, has a rich history in the islands and cultures of Polynesia. The term ‘tattoo’ derives from the traditional Tahitian ‘tatau’, although the actual practice of tattooing is believed to have originated on the island of Samoa over 2,000 years ago. And although many of the Oceanic cultures are noted for their visual and practical differences, they ultimately have more in common than anything else. Most Polynesian societies have long functioned under systems of hereditary nobility where body modification artists that specialize in tattooing and ritual scarring are upheld and honored by the public, often being revered as priest-like individuals. Such artists often practice body modification as their sole profession and are believed to serve as communicators between their societies’ spiritual figures and ancestors and the members of the community.

Tattoo designs are carefully handpicked by the artists for specific individuals to enhance certain qualities or characteristics of the wearer, depict personal lineage and status, or even to serve as a spiritually protective and intimidating body armor in the case of traditional Polynesian warriors. When studying those native to the Marquesas Islands, battle tattoos were dense and dark in nature and were often applied heavily to the face. This served as both an optical illusion and a point of military intimidation to the warriors’ enemies. To the Maori people of New Zealand, the practices of tattooing and ritual scarification borrow many of their skills and visual characteristics from decorative and architectural sculpture. The most traditional Maori tattoo is a large piece that extends from the torso to the knees of initiated male members of the community. Such tattoos are called pehas and feature arrow-like patterns and spirals that accentuate the wearer’s natural musculature and define the buttocks. It is an honor and a right of passage for Maori men to sport these designs and the application process is a social ritual in which many members of the community come to witness the tattooing or attend the celebratory festivals that take place afterwards.

Like those in Oceania, body modification practices in Latin America were built upon the importance of religious ceremonies and social status. In times of Mayan civilization, those of royal lineage had their skulls purposely misshapen as newborns to signify their high social ranking in a permanent and obvious manner. It was also common to practice ceremonial bloodletting through body modification like the piercing of the tongue. Such alterations to the human body had highly spiritual purposes that assisted members of the community in becoming closer to their creators and enhanced their overall spiritual abilities and social value within their societies.

By presenting traditional Oceanic and Latin American body modifications in a gallery setting, viewers are able to gain a new level of respect and understanding for the ancient art forms in a way unique to most museums. Because of the great social importance and ritual practices surrounding tattoos, piercings, and ritual scarring, the gallery presentation of such media should also be socially focused. Photographs and illustrations would be exhibited in simple frames on the walls of a gallery that mimicked a small home. Live models sporting the discussed modifications would walk throughout the building in a normal fashion and engage in conversation with visitors to provide a unique educational and socially enlightening experience. The exhibition would utilize large amounts of natural light and would stray away from the traditional art gallery experience. The home-like, welcoming layout of the building housing the show emphasizes the ancestral, familial, and social connections stressed by the shown body modifications and encourages visitors to temporarily become one with the cultures of Oceania and Latin America without western preconceptions and expectations of practices often seen as taboo to those of other cultures.

C is very simple and easy language. C language is mainly used for develop desktop based application. All other programming language were derived directly or indirectly from C programming concept. C is widely used language. It is provides a lot of features that are given blow.

• Simple
• Powerful
• Platform dependent
• Case sensitive
• Compiler Based
• Syntax Based programming language
• Machine Independent Or Portable
• Mid-level programming language
• Structured programming language
• Rich Library
• Memory Management
• Fast speed
• Pointers
• Recursion
• Extensible

Every C program can be written in simple English language so that it is very easy to understand and developed by programmer. C language provides break the problem into parts, rich set library function, data types etc.

C is very powerful programming language, It have a vide verity of data types, functions, controls, statement, decision making statement, etc.

It is case sensitive programming language. In C programming “break and BREAK” both are deferent

A language is said to be platform dependent whenever the program is execute in the same operating system where that was developed and compiled but not run and execute on other operating system. C language is platform dependent programming language.

C Language is compiler based programming language that means without compilation no C program can be executed. First we need compiler to compile our program and then execute.

C is strongly tight syntax based programming language. If any language follows rules and regulation very strictly known as strongly tight syntax based language. Example C, C++, Java,.net, etc. if any not following rules and regulation very strictly known as loosely tight syntax based language.

Unlike assembly language, C programs can be executed in many machine with little bit or no change. But it is not platform-independent.C is also used to do low level programming language. It is used to develop system application kernel, driver etc. It also supports the features of high level language. That is why it is known as mid-level language.

C is structured programming language in the sense that we can break the program into parts using functions. So, it is easy to understand and modify.

C language provides a lot of inbuilt functions that makes the development fast. Memory Management

It supports the features of dynamic memory allocation. In C language, we free the allocated memory at any time by calling the free() function. Fast speed

The compilation and execution time of c language is fast.C language provides the feature of pointers. We can directly interact with the memory by using the pointers. We can use pointers for memory, functions, array etc.

In C programming we can call the function within the function. It provides code reusability for every function.

C language is extensible because it can easily adopt new features.

Theater has been apart of history for many years and has had big influences. It is obvious that American and Japanese culture are very different. Where there are differences there are also some similarities that might be surprising. The one thing about theater that is so great is the diversity and bring something great to life. Two very different countries that have completely different views is exciting to learn about.

In earlier Japanese theater the actors would perform on temporary stages, temples, and many that took place outdoors. During the traditional years physical stages were almost never used. People had to carry around props and have portable stages that could be switched out for different plays. They mostly had to rely on the scenery that had the effects of the play. In that day and age it was completely different then what it is today. Today Japan doesn’t only show traditional plays but also western plays as well, and make live plays out of popular TV series. It is really interesting that Japan makes anime into live shows such as Naruto, it was a good idea on their part and it is a much watched show. Anime is extremely popular not only in Japan but also in other countries, so it really is a good tourist attraction.

Costumes and makeup are very important in Japanese theater, which the actors apply themselves to help fit into their characters. They would apply white paint on the face for a dramatic effect and then colored or black lines drawn around the eyes and mouth. Makeup is different for men and women because the lines were drawn by certain facial muscles. Each color used had its own meaning for being sad or happy, such as blue was sadness and pink was happiness. Wigs were also worn to show age as well as social status of the characters. As for clothing it was pretty simple such as: odachi which is a broadsword, Osuo is clothing with many layers, Janome-gasa was a oiled paper umbrella with bamboo framework, hachimaki is a headband, wakizashi is a short sword, and kuroko are invisible stagehands dressed in black to assist actors. The makeup in Japanese theater is really basic and to some can seem unusual because it is something some have not seen before. It really seems like clown makeup in some ways with all of the colors but it draws the attention and is very striking. In some ways the makeup designs are also creative and artistic because they are symmetrical.

Western Theater has changed and evolved over the years to give us the best experience. Western traditional theater began in ancient Greece. The actual set design as we think of it now was minimal. For the most part, the actors’ voices, music and dance carried the story. Over many years after the fact early stage sets began using portable – banners, structures built on wagons – but later props included sophisticated stage machines allowing ships to sail and sea-storms to sink them. In today's theater there are many different technologies that are used to make a great show. Lighting, sound systems, projectors, and backdrops all are very essential in today’s entertainment. It has evolved so much over the years and will continue to grow and make much more new technology to use in the future. You know it is really exciting to see what else can be created to make a theater experience even more enjoyable.

Costume design has a very long history. The ancient Greek created specific costumes for actors to wear when performing tragedies. In the Middle Ages and the Renaissance, scenery and costumes became increasingly important elements of stage plays. In Shakespeare's time, people performed in contemporary dress. In his own company, Shakespeare's performers provided their own costumes. In the 16th century, some traveling theatrical troupes performed a style of theater called commedia dell'arte. It had costumes, such as the serving girl, the doctor, and the harlequin. In modern theater you can wear just about anything and everything. We have so many different styles of clothes now than we did back in the early days of theater. Through the years it will continuously change and people will even form new costumes and looks.

Makeup used to be very dangerous and toxic back in earlier years where they would used white led paint. The amount of makeup used was also very excessive and seemed to be cake like. Over the years it has improved products safety on skin and some now a days are even edible. Depending on the role being played makeup is used in so many different ways. One including latex skin and liquid latex used for the more scary and bloody effect. With this sort of makeup we can make faces look like anything that we want. The improvement and constant changes in makeup is really extraordinary because it can transform a person into someone completely different.

This topic was very interesting because it gave a better understanding of what it was really like. It was chosen because Japanese theater was not explained enough and helped to learn more information on the history of what it was. The one thing that was great was the was the Japanese used their makeup colors to represent feelings and characters. Another great point was how makeup was toxic and not safe to use. Reading and researching the topic gave an understanding and appreciation for theater and made it more interesting. Both Japanese and western theater had many of the same tactics for set design and some different approaches with makeup. The Japanese use more traditional makeup and performances, whereas western is more modern and new. Either way both are entertaining and seem to be continuing to grow and change. Cannot wait to see what they come up with in the next generation of playwrights and actors.